Meet George Jetson, Fred Flintstone, Barney Rubble, and More with Jeff Bergman

Find out how Mel Blanc and Henry Corden helped inspire JEFF BERGMAN to continue the voice acting magic of a galaxy of classic cartoon stars. 

Episode Transcript

(00:51):
Ladies and gentlemen, children of all ages, we love Hannah
Barbera. Welcome to the fantastic world
of Hannah and Barbera. A celebration of Bill Hannah,

(01:13):
Joe Barbera and the 1000 Thousands of people.
Past and present who have sharedin their entertainment tradition
and now your host Greg Airbar. Thank you Chris Anthony, welcome
to a very special. I know I say that all the time,
but this is extra special special sort of like the special
Pogo happy birthday special, butspecialer than that, even if you

(01:36):
can imagine. We have a guest, Jeff Bergman,
who does superstar character voices to AT does original
voices. He's uncanny.
He creates miracles with his voice and we are so very, very
lucky to have him talk with us today.
Welcome to the fantastic world, Jeff Bergman.

(01:59):
Thank you, Greg. Thanks so much for having me.
Really looking forward to this. Well, those of us who grew up
with records where really fine actors, really fine and people
pick on them. But fine actors like Frank
Milano, who is in early children's television, and
Gilbert Mack, those people were handed maybe a couple of photos

(02:21):
and the script and maybe they saw a cartoon.
And then they said, we're going to have you do every single
voice that Don Messick and Daws Butler does for this 14 song
album. Then you have to do every voice
the best you can. But how do you do that?
And they really try. These were stage and television
actors of early live TV. They were substantial and I'm

(02:44):
sure that their lead time was about when his contract was
signed, maybe 3-4 weeks to doingit.
Cartoons weren't on all the time.
They didn't have video. I'm sure they didn't get 16mm
prints. In other words, very little
reference and very little guidance.
And I think they did a superb job.
But his kids were like, that's not Yogi, that's not Huckleberry

(03:07):
Hound, that's not. And even when Hanna Barbera was
doing it, that's a really good Mr. Jinx, but it's not Dos
Butler. And goodness, what happened
here? So when we find out that Someone
Like You, and that's just what Iwant to ask you, probably with
an even more intense self training process, can duplicate
these voices. Not just duplicate them, you

(03:29):
know, like impressions, but act them.
That's a really difficult thing to do.
And we know we've had Bob Bergenon and there's a lot of
other fine people, some not withus anymore, Joe Alaska and Greg
Burson, who also did it. But there's so much just about
that. I want to ask you about if you
wouldn't mind. But I want to go, as we do, go

(03:49):
back, tell the Little Golden Book story of your life because
like Bob Bergen, who we've had on, and Keith Scott, this is
something you're almost born to do.
Well-being. Born in 1960, I guess we'll put
it I came into the world, what, two months before the premiere
of The Flintstones in 1960s? Thanks, Mom.

(04:13):
Thanks, mom and Dad. So I remember, I remember The
Flintstones probably I would saywhat 166, whatever episodes they
did. And I probably have a pretty
accurate memory of the last season being the age that I am
now, like 6667. So I really saw it in first run

(04:36):
and I think it affected me. Even though I don't think I
understood all of the material, there was still a lot of great
gags. But then I think what happened
was Huckleberry Hound. I think this was my introduction
to the world. This was my entertainment diet.
And then after Huck, it was Yogi.

(04:58):
And then, of course, I think I found my great delight with
Wally Gator. Yeah.
You know, when you talk about the material, the characters
themselves, the animation, even though, you know, some of it was
limited and we're talking about the advertising revolution in
the 1960s. So we got to see many of these

(05:20):
characters advertise cereal and juice and all kinds of products.
And my head exploded when I would see Huckleberry Hound or
Yogi Bear, Bugs Bunny advertising a cereal that I eat.
But how could that be? How could you get them from that
world into the world with my serial, but I definitely think
it was the innocence, the sweetness of the Hanna barbaric

(05:43):
characters, Huck and Yogi and Wally, Gator and Jinx, Quick
Draw, McGraw. So many of those characters hit
me at the six, 7-8 year old range.
I, for the most part, felt connected to that.
I could understand those relationships.
They weren't all that complicated.
You know, it's like to do, not to do.

(06:04):
Don't take the picnic baskets oryou'll get in trouble with the
Ranger. I mean, there were basic little
lessons in there, but ultimatelyit was very fun.
There wasn't that much to think about as a kid.
I think that was the blueprint, which I don't think I realized
what was happening. I was taking all that in.
You know how they say we have short term, long term memory

(06:26):
that many of us can't remember what the heck we did yesterday
or what we ate or where we went,but yet you can remember
something you learned 4050, sixty years ago.
And I think that was the first step in learning these
characters. I had no intention of being an
animated cartoon voice guy. I never had any desire to do

(06:47):
that at that age or even at 13 or 15 or 17, any desire to do
that. I messed around with voices.
I certainly like to do impersonations of presidents
and, you know, different real life characters.
But I never thought about cartoons from that perspective,
I guess because there wasn't really anybody that was so

(07:08):
outspoken in interviews and vocal.
I'm talking, you know, sixties, 70s, you know, wasn't until
maybe mid 70s Mel started to do more interviews and oh, you mean
that's a real job. Oh, wow.
And rarely did you ever see DawsButler or Don Messick in

(07:29):
interviews. I guess they did.
There's probably some you can get on YouTube.
I think I've seen a couple, but not many, Not many.
They actually, I remember being over the moon thrilled to see
June for A and Daws Butler on Truth or Consequences in the
70s. They did things like to tell the
truth, but they didn't get sat down for interviews because

(07:50):
cartoons and cartoon voice acting wasn't really explored.
We're talking about an era wherethere really weren't that many
books about the history of Walt Disney.
Now you can throw a rock and hita book about Disney and you can
become a historian when you choose the right books or the
wrong books. But in those days, it really
wasn't discussed. Now, there were some that were

(08:12):
on, like Atlan Melvin, occasionally, Janet Waldo, Oh my
gosh, she's on I Love Lucy. They would make an appearance in
live action on a show, stand up and cheer with the Johnny Man
singers. To see Thurl Ravenscroft and
hear that voice coming out of him.
Oh, does it? And then he has that voice.
So naturally, you wouldn't think, is that even a career?

(08:33):
So you grew up in Pittsburgh in Pennsylvania?
I grew up outside of Philadelphia.
Originally born and raised in Philadelphia and then in the
suburbs outside of Philadelphia.Grew up there but eventually
made my way to Pittsburgh. Got my undergraduate degree at
University of Pittsburgh. But you know, I grew up on the
East Coast too, and people just weren't talking about cartoons.

(08:53):
It wasn't really that cool untilRoger Rabbit and anime.
So Steven Spielberg is into it, and so it's OK.
Yeah, I call it the animation revolution that began in 1989,
but it's certainly the precursorwas Who Framed Roger Rabbit?
That really you're 100%. I've often referred to that.

(09:14):
But you know, back to Huckleberry Hound, an
interesting story with this. I don't know if I've told this,
but it's possible that my cousinDick Martin is his name.
He still lives in Kingsport, TN.I don't know he would be in his
upper 90s, but I wouldn't doubt it.
But he sounded so much like, at least to my ear, like
Huckleberry Hound. So when I heard Officer

(09:36):
Huckleberry called headquarters again, I'm sure Huckleberry
called headquarters again. To me, that was my cousin Dick.
He sounded so much like that. And then to hear Daws talk about
that, it was that character was I think it was somebody from his
wife's family. Right, exactly.
Murders is, I think it was a doctor and he'd say, you know

(09:58):
how you doing, Daws and then he'd have a long conversation
with him. Yeah, I love it.
Yeah. And their sense of humor, it's
so specific, you know, like he would call us up and he would
say to my my father's name was Stanley, and he would call my
dad. How you doing, Stan?
I bet I phoned you, didn't I? It's a it's a humor that only,

(10:22):
you know. It's in that little space and
precious. Just precious.
So again, I think that was something that was happening
with me and I don't think I was really aware that I'm I'm
learning these characters. And we always had music in my
house as a child. There was always music.
My mother played a wonderful piano and my aunts all played.

(10:45):
We always had music in the house.
I think it might have affected my ear, you know, and the sense
of rhythm and what you hear. And then, my gosh, Greg, I mean,
I know you're so knowledgeable about this, but from a visceral
perspective, when I think of themusic that Hoyt Curtin created
for these shows, the music was acharacter in and of itself.

(11:09):
I mean, when Fred's up to something, when he's creating
some kind of a, a scheme, there's that music.
And I, I can almost hear that, that up to no good music.
It's so important to put you in that headspace, in that mood.
And they did that so well. What was unbelievable about Hoyt
Curtin's music is he wrote thesecues.

(11:29):
Rarely, if ever, did he post score, but he had an idea of
what they were going to do. And he may have seen boards and
done specific cues for things, but he also knew what was going
to be needed because he had a background in that.
He worked in advertising and he had this almost supernatural
gift for creating cues. And this is what he trained

(11:52):
people like John Debney to do and Ron Jones and, you know, big
time Hollywood composers when they were working with him and
Hanna Barbera. He could create cues that could
be edited easily, could flow into one another seamlessly, or
cross faded beautifully. He created stuff that fit so
many different uses because you you know the cues and yet when

(12:14):
you see a scene like that, it fits as if it was scored.
It really is astonishing. It's incredible.
I can't even imagine the thoughtthat went into it.
I remember hearing for the firsttime, it must have been 10-15
years ago, where I actually heard the original theme to The
Flintstones sung by the cast andI heard it.
I went, what a treasure this is to hear this.

(12:36):
And they all have their moment. Alan Reed has this moment and B
and you know you've heard it. Dino is our little dinosaur.
He's good, but nobody knows whatfor.
Barney. I'm Fred's bosom body friend.
As long as he has a buck to land.

(12:57):
A scuba dooba Doo time. A dooba Doo time.
And it was so great to hear that.
But then thinking about it, OK, I understand why they went in
the other direction and that that wasn't the theme as we all
know it, but still, what a treatto have that.

(13:19):
You're referring to the, Again, we're talking Golden.
And once in a while they would get the original casts.
And this was the Golden Records LP called Songs of the
Flintstones. Yeah.
The music beds for the songs ended up being background music
for the show, too. So when I first heard the
record, I'm like, that's where this came from.
I think it's on Volume 2 of the DVD and Season 2 on the Blu-ray.

(13:43):
I think it's still on there. Because I have that, so maybe I
have to check that. Out, Yeah, I think it was kind
of put on there. I'd love it if that got a like
one of those Record Store Day vinyl.
That's one of the most importantcartoon albums ever made.
And it has both the original theme sung by the cast, Rise and
Shine, and then the new theme, which the record did.

(14:03):
It first became Meet the Flintstones on the show sung by
the cast and the car hop song sung by Charlie and Irving here.
We go, the guy put the burger onupon me and there's a coat on
the side. Oh, your taste.
We will pickle with the coal. We'll pickle and all of our

(14:24):
potatoes are fried, fried, fried.
When you drive away, I tip up onour train.
We hope to find fine, fine, fine, fine, fine, fine, fine,
fine. So there you are.
There's all those cartoons. You're watching them.
And I'm glad you mentioned Huckleberry Hound because in its

(14:46):
day was hailed as one of the most sophisticated things on TV.
It was watched in lounges in theevening by adults.
Huck was a mascot of colleges, and what Huck did was prove that
that kind of cartoon would work on TV.
And then the following year Rocky and his friends came
along. Panna Barbera's humor was much

(15:07):
more gentle and they need to be recognized more for that kind of
humor. I think so, too, yeah.
I mean, I almost feel like you and I are privileged to have
grown up with that. But somewhere along the line, I
guess you studied theater. I mean, what was your pursuit
originally? Well, my actual degree is in

(15:29):
speech and rhetorical Communication, as they called it
back in the late 70s, early 80s.So I had an interest in the
theater and I was in plays in college.
I enjoyed it, but somehow I justdidn't veer in the direction of
concentrated study with theater.So where else do you go?
Radio and I just thought for me,that was the place to go.

(15:53):
I don't know why. I guess maybe radio was a big
deal. I mean, we always had it on in
the car. That was our connection to the
world. And it was music.
And I just remember this is before, you know, DVDs, before
CDs, cassettes. This is just when you put the
radio on and whatever station mymom and my father had, you know,

(16:14):
that's what we were listening to.
I mean, I remember I had a little RCA Big troller player
and a place my 45 records, I cantell you the six records I
played. I think it must have driven my
parents. It's insane.
And I had. She loves you.
Yeah. Yeah.
I want to hold your hand. It's not unusual to be loved by
anyone. By Tom Jones, The Flight of the
Bumblebee. By Al Hurt Petula Clark Downtown

(16:37):
I mean, so there was so much music.
You know, when you think about it today, a parent and a child
in a car, you know, the kids areon their phones and there's
maybe a little disconnection there.
Everybody's in their own little world.
But there was a shared experience in front of the
television with the Wizard of Ozthat was on once a year or
Saturday morning cartoons. They were rituals.
They were things that were happening.

(16:59):
I mean, I can tell you the food that I would eat when I was
watching scooby-doo on Saturdays, cheese doodles,
chocolate milk, the snacks that I would have based on what
cartoons were happening. It was so special.
And I think because we couldn't get it all the time, you know?
So back to your question. Yeah.
So radio for me really was the start And.

(17:20):
And in fact, we had a radio station at the University of
Pittsburgh. It was only an AM band.
So basically beyond the lunchroom, the cafeteria, the
towers, you know, nobody could really hear us.
But we thought our signal was all over the world.
We were into it. And when I found my love, which
was production commercials, and that for me was like, I think

(17:43):
the beginning of maybe I found something here.
And that's approximately around the time that I had met Mel
Blanc, just coincidentally at the University of Pittsburgh
while he was there for a lectureperformance.
And so that really was the firstwatershed moment that changed my
entire life, that one meeting. I'd love to know the details of
that if you don't mind. Well, you have to jump back in

(18:06):
The Time Machine. Go back to 1980.
I was just sort of wandering aimlessly around the campus of
the University of Pittsburgh, probably with my Walkman just
zoning out. And then I just happened to see
a sign that said Mel Blanc, voice of Bugs Bunny, appearing
at David Lawrence Hall, which was our big lecture hall where
we had classes of like 200 or more people.

(18:27):
And so I thought, oh, that's cool, maybe I'll check that out.
I showed up, he was fun. He showed a few Bugs Bunny
cartoons, did a bunch of the voices in front of the lectern,
took a lot of questions, and then it had a lovely reception
for him at the student union right across the street.
And then he gave out these little sort of 5 by 7 cards with

(18:47):
his signature, surrounded by allthe characters that he did.
And I thought, wow, that's really cool.
Why? What in my mind was I thinking
when I happened to overhear thathe was staying at the Crossgate
Motel just down the street on the campus where parents would
stay when they were visiting? You know how I got his room

(19:07):
number? I don't know, but I guess I just
eavesdrop and heard it from the student council.
And at 10:00 at night he got a knock on his door.
I was so nervous, but yet I think my excitement usurped my
nerves to the point where I thought I can do this.
I knocked on the door, didn't really know 100% if it was the

(19:28):
right door and I heard this voice.
Just a jiffy. I thought, Oh dear God, I have
the right door because that voice is, it's unmistakable.
No one has that voice. He opens up the door and he's
wearing a beautiful red quarter van bathrobe, kind of shiny, and

(19:49):
he has on some gold chains. I said in a frantic voice, Mr.
Blank of one of your biggest fans, I saw your lecture,
University of Pittsburgh. I'm not going to hurt you or
anything. I just if I could just spend
like 3 minutes of your time. He looked at me, you know, as if
to say slow down, slow down, take a breath.
And he said to me, and I don't always say this in every story
when I tell this, he said to me,are you Jewish or Italian?

(20:13):
And, you know, in your mind, in the back of your mind, you're
thinking, well, what's going to get me in, you know, but of
course I didn't say that. I just said, well, I, I, I'm
Jewish. He said, good, come on in.
And so before I knew it, I'm busy doing George Burns and Jack
Betty for him and how that happened.
I don't know what he wanted to hear, what I could do.

(20:35):
And I told him, I said, oh, Mr. Blank, I said, I just don't, I
don't love school. I just, it's not really for me.
I'm just it's OK. But you know, and he said, look,
your voices are good, but try your best to stay in school, get
your degree. It's important.
And then if you ever get out to California, look me up.
I don't think I had any idea in the moment how special it is and

(20:56):
what that really meant, but man,what happened after that was
insane. After about a month or so, when
I sort of processed it like a madman, I locked myself in my
room with my tapes, and I mean my cassette tapes because that's
all I had at that point was justaudio, had no video of anything,

(21:18):
and I just listened to everything because I would tape
movies. I think I talked about this with
Keith Scott. You know, I was a goofball, but
you know, it's all what we had to work with.
Rocky was on. So I would tape Rocky.
If it was a movie with Al Pacino, I would tape the movie
and I would hear the dialogue orit was a Bogart, you know,
whatever it was. I basically locked myself in

(21:39):
that rooming house that I was staying in for maybe four months
and basically started to accrue 506070 voices from Joe Flynn,
from Mchale's Navy to Don Knottsto all the Looney Tunes.
And why suddenly was I doing theLooney Tunes?
I don't, I don't know. I don't know, I don't know.
I guess I was so affected by it that it just, it had to come out

(22:02):
of me. Then I went back to the radio
station and they said, well, what kind of voices do you do?
This is the pit station. And I said, well, you know, I
president, you know, Carter, I can do celebrities, whatever,
and I do some cartoon characters.
And they said, oh, really? And they were interested in
that, like, who can you do? And so I started to rattle off
the characters that I could do. And they were like, what are you

(22:23):
doing here? You should be in Hollywood.
You should be in New York, should be in clubs.
But I, I really worked on them. I spent so many hours, I don't
know how, if I was really any good because you know, again, I
was only 20 at the time, so my voice really just hadn't fully
matured really until my late 30s, early 40s is when I started

(22:44):
to really feel like I can sound because Alan Reed, that I mean,
doing the voice of Fred Flintstone felt like the most
impossible task because that washis real voice.
He didn't really do much to it. He elevated it, obviously, but
that was Alan Reed's voice. You either sounded like that or
you didn't. It was a heck of a time trying
to get that voice. He actually pioneered what is

(23:06):
commonly done in animated shows,especially the more
sophisticated ones, according tohis autobiography.
When he was auditioning for Fred's voice, he kept telling
them this is going to be on every week, this is going to be
people identifying. These are going to feel very
real to people. It should be close to a real
voice, not quite as character Y as in most cartoons.

(23:29):
And they finally agreed with him, right?
Absolutely right, because Fred is basically him a little bit
affected. Both Barney voices are because
Mel did two of them and B Benederet.
When you hear her talk, you're hearing Betty basically out of
that with a little bit of effect.
And good Lord, Jean Vanderpyle, she is Wilma, such a natural,

(23:52):
real grounded feeling. And Hannah Barbera did that from
that going on, really, with those sitcoms and your ability
to duplicate a voice that isn't cartoony like Fred Flintstone,
George O'hanlon, I don't even know how you can do that.
Because his voice, he sounds like a guy.
You know, it's like all the tropes and things like that I

(24:13):
would go through with, say, FredFlintstone.
And I don't think I really was confident that I had the voice
until I could say this. Oh boy, when I could say that, I
thought, Oh my gosh, I've got something that's different.
It's a part of who he is. It's that emotive frustration.

(24:34):
Oh. Boy.
And I felt like, oh, I've got, I've hooked into something.
I've gone deeper. I've peeled away a little more
of the onion and gotten a littlemore to the core of the
character. And then finally it was like I
was out my own artificial intelligence.
Like, I could say anything in Fred's voice and it would work.
Maybe it wasn't the way that Alan would say it.

(24:54):
And that's what we're always faced with, all the people that
do impersonations. And there's so many.
And you mentioned Joe Lasky and,you know, and Billy Weston, Bob
Bergen. I mean, we all have our own
spirit. We can't help that.
We're a different vessel. But you never really know for
100% how they're going to do it.And even if you did, would they
do it the same way again? Maybe, maybe not, you know, So

(25:18):
it's just finding all the notes.Hopefully you have a great
director and all that stuff we can get into.
The talent also lies in making the line funny without
necessarily even being funny. Does Butler was a master at that
episode of The Flintstones we quoted.
And it's not a funny line, really, if they kind of, you

(25:38):
know, laugh track. But it was like, you take my
chair, mother-in-law, dear, I'llsit on a box.
The way he said I'll sit on a box was funny and we would say
sit on a box all the time because of the way he said it.
This is what I hear constantly is it has to be the acting of
the voices. Even if it is a more extreme, it

(26:01):
still has to be acted. Oh, yeah.
I mean, I've become friendly with Noel Plant.
And we had met 35 years ago at the Tiny Toons, very first
audition callback recordings. And Noel has told me, he said,
Jeff, those Flintstones recording, some of the early
ones were insane because they would come in and set all the
cables up in the house because Mel was still in it cast.

(26:24):
And once everything was all set,then we would do it.
And if somebody made a mistake, we would start back at the
beginning. And I thought, Oh my, are you
kidding me? So we do it every time until
finally, Joe Barbera, they finally figured out, well, you
know what, we've got several good lines.
Let's just redo that vlog and then we'll just move on and not

(26:44):
concern ourselves with always going back and having it be just
perfect, you know? But he said they would go till
sometimes 1:00 in the morning, they would be recording.
And that makes me think like, oh, you know, we're 4 hour
sessions at the most. Many times we're out an hour and
a half or two. I can't even imagine what that
must have been like. But you know what it really

(27:05):
shows? Because like you're saying, the
reeds that they got, yeah, you don't sound reedy.
They don't sound. No, no, they don't.
That was another Hanna Barbera thing.
And television animation generally is they did it like
radio or or stage. Jody Benson, the voice of Ariel.

(27:26):
Yeah, it's a wonderful person, she said.
You know when you do a feature, you do your lines generally
separately and have to figure out, and they do it different
ways. But when she did Pirates of Dark
Water, and this is long into thehistory of Hanna Barbera, she
said it was so great as a stage actor to bounce off the other
actors. And even in the features, they
were all in the room together and you can kind of tell the

(27:48):
difference. Oh yeah, There's something kind
of weirdly odd about the Pixar films.
I, I I don't know, I can't quiteexplain it.
Just as maybe it's the point that a lot of the dialogue is
seen separate. You just don't get the feeling
they were in the same room. And of course, we find out they
weren't, and that Tom Hanks and Tim Allen never even met until

(28:10):
the very first. Premiere.
They never met. They did have John Goodman and
Billy Crystal because they insisted on doing it.
I remember that, yeah. I remember that.
They had a really great before, yeah.
In Walt's day, they sometimes couldn't.
Always and over the course of the four years or so, so they
would bring them back in to do drop in lines.
However, I think the Mad Tea Party scene, which is one of the

(28:31):
greatest scenes in history is because I think they were all
there because they were interrupting each other.
Whenever you can, add that electricity to it.
Yeah, yeah, it's so true. You know, I often think that as
a voice actor, I think I was very influenced, as we said, by
the music of the mood. If Fred was distressed or if

(28:52):
Fred was exuberant, there was music accompaniment and that
helped get you there. And and certainly I think that,
my gosh, that so affected me. And of Looney Tunes, I mean,
that, you know, Milk Franklin, Carl Stalling, I mean, this is
some of the greatest music ever created for animation.
So I think that's part of my lexicon, you know.
And then, I mean, I have to say I was getting training Crown

(29:15):
working with actor Henry Gordon,who as, as you know, took over
for Alan Rita's Fred Flintstone.Now, Henry and I worked side by
side. We would spend 678 hours a day
from 1991 until, well, I think Henry passed away, you know,
2005, so maybe 2003 or 4. That was probably our the last

(29:40):
year that we did the Fruity Pebbles commercials together.
Oh my gosh, you want to talk about and stories because he was
part of the golden age of Hollywood and he was such a fine
actor and he cared meticulously about the meaning of all the
nonsense about these serial commercials because they're
silly. But he cared and he brought such

(30:01):
great acting. And of course, that's when I got
to work with you. You asked me, I'll tell you some
of the greatest legendary voice artists in the industry.
And I would spend all day with them.
John Stevenson, Gary Owens. I mean, just it's one after the
other because they were featuredin those commercials.
But Henry was just a a supreme actor and the stage actor.

(30:22):
So I learned a lot from him. What?
Were the circumstances where youwould be doing that, Henry?
From some point 77 to his death,he was Fred Flintstone and I was
Barney Rubble. And then James Arnold Taylor was
doing his version of Fred Flintstone.
And then I worked with James where I was doing Barney and he

(30:43):
was doing Fred. And then, I don't know, it went
to another advertising agency and they wanted just the, they
wanted auditions. And so I auditioned for Fred,
got it. And then I became the voice of
Fred and Barney wasn't really that active in the commercial.
So there was a half a dozen spots as Fred.
They were like that stop action motion, you know, a type of

(31:03):
animation. Those commercials for Fruity
Pebbles they had done. It was cute.
It was cute looking, very colorful.
And then I actually got to do Mr. Slate in one of those
commercials, which was really fun.
But that was a Oh my gosh, John Stevenson.
I mean, I spend all day with John.
What a voice he had. Yeah.
It wasn't until maybe a year anda half ago then I feel confident

(31:25):
if somebody said do it, just do it now, I could do it because
it's it was very difficult voiceto do.
Just didn't have me guttural andnasal.
And and you know, I mean, he wasmy childhood.
I think I would. I would stare at him when we
work together on a Fruity Pebbles commercial.
There was one commercial where he was Mr. Slate in the spot.

(31:46):
So we got to spend all day together.
And I just was like, I was like looking at him like a kid
looking at his hero and just thinking, Oh my gosh, he's real.
That's Mr. Slate and that's the goon and the monster from
scooby-doo. It seems out of my mind.
Every other week he was the unmasked.
He could do serious and he coulddo comic so well.

(32:09):
When you're mentioning Henry Corden, who I think one of the
reasons they chose him for Fred was because he could sing.
And at the time of Johnny Quest,they were probably recording
Alice in Wonderland and Matt Call Flintstones songs, but
he's. Henry talks about that, yeah.
Oh, we did. Henry talked about that.
Oh, we spent many hours sitting on those stools while they were

(32:29):
listening to takes that we did, evaluating which takes they were
going to go with and edit. And then Henry would tell me
stories from old Hollywood. But you know, when you listen
back to Flintstones episodes andHenry is the tough guy, he's the
goon that he gets into a fight with Fred and all over that
show. And then Alan just had
difficulty singing. I mean, in those days, what did

(32:49):
they say? He said Alan, 10 year, I love
that expression. A10 year.
He said he couldn't sing for anything, so he did all the
stuff on albums and, you know, live appearance shows, whatever.
Henry could sing and he was goodat it.
And we sung rap together for thecommercials and that was a lot
of fun. But he definitely liked Alan.
And, you know, he had that sort of.

(33:11):
OK, Frank Flintstone. You know, he sort of could do
that. And then again, I think years
later, you know, he made it moreof his own, you know, But I
remember the first time, I think, I mean, I don't want to
equate this to losing, you know,a relative.
But when Fred's voice changed, Ithought my world was going to
end. When I heard the change from

(33:33):
Alan Reed to Henry Coordinate, well, I didn't know.
Of course, that was his name. I said something is very wrong
in this world right now. What is happening?
Because it's your childhood, andwhen it's your childhood, you
can't mess with that. And so eventually I just sort of
had to accept it like everybody else, but I never quite accept
it. But then when I got to work with
Henry, he was such a consummate actor.

(33:55):
And for Henry, it was so much less about impersonating the
guy. That was Fred Flintstone.
And he knew Alan very well. And I never got to meet Alan,
you know, But I felt as a fan, Ihad to capture that sound of
Halim Reid, the flamminess. I had to get all of that in
there. There's just not many

(34:17):
interviews. But I remember seeing the film
The Postman Always Rings Twice with John Garfield and Lana
Turner. And I don't think you see him.
You hear him for a second, he's off camera and you hear it.
Just a second here. Well, all right.
Yeah. You know, so it was discovering

(34:41):
these movies that he was in, andhe was a theater actor.
And he's very sort of theatricalin interviews.
I played for staff. Oh yes, I was in the legitimate
theatre for sure. Absolutely.
Yeah, there was a little bit of Frederick in Alan Reed.
Yes, yes, completely. Yeah.

(35:05):
I think that must have come fromthe legitimate theatre he.
Brought that in there years where he does that sort of phony
accent. Yeah, but I also got the sense
when there's that one interview,I don't know if you've heard it.
I think it's back from 1965. Sixty six radio interview, and
it's a lovely interview that someone gets and he talks about
the history of his theater, which I was even more interested

(35:28):
in. And of course, once again, he
was a radio star. Oh.
Yeah, Life with Luigi, and he was on the Fred Allen Show.
Fred Allen Show. Doing the Frederick voice on
that too. Yeah yeah.
If you love cartoons, probably everyone listening most of you
are familiar with classic radio.It's very accessible.
The Internet Archives has entireruns of series and so does

(35:50):
sometimes YouTube. B Benaderra is a regular on so
many shows and when you hear Gene Vanderpiel as Margaret on
Father Knows Breast, it's reallyreally cool.
And of course Mel Blanc had his own show and he was several
characters on Jack Benny. But then when you do see them
seeing Janet, Waldo and I Love Lucy, I still find that

(36:10):
thrilling. And what a voice.
Her voice seemed to really neverage.
And she was. She had that voice into her 90s.
Yeah, To us, they're the, much as I love the legendary, you
know, the Katherine Hepburns andthe Spencer Tracy's, and these
are our equivalents of that. These people are genuinely
superstars. And like I said at the

(36:32):
beginning, and you kind of said here, you got so close to the
voices that it was a jolt when they changed.
And I think when you do these voices and other actors that you
know well that do these voices done originally by these
veterans, you have that in your head.
I want to do justice. It's not so much what would

(36:52):
they, how would they have done it?
But what were they thinking about?
Where were they coming from? Like we said, it isn't just
doing the impression exactly. And maybe that's what Henry
Corden gave you too, was it isn't so much the imitation,
it's what you bring to it as well.
Because nobody ever would deny he didn't sound much like Alan
Reed. He was much more Gleasonly and

(37:13):
he was more boisterous and all, but he was capable of subtlety
and completely different characters.
If you just specially from his Johnny Quest work.
I think that was just the way hesaw Fred.
And that's what Barbera must have liked, because they used
them forever. Yeah, well, I mean, you know,
when you look at those very early episodes of The

(37:34):
Flintstones and it's that first season, even the pilot, there's
something about it that was actually, when you look back at
that, Greg, there's something inthe Reeds that's so
naturalistic. It's so not elevated.
There's like a quiet sort of subtlety about it.
Even the music is different, is a different mood, and it just

(37:57):
sort of gets blown out, becomes more exaggerated, you know, very
much like The Simpsons. You know, Homer had a different
voice that first couple of seasons, and then they just
exaggerated him more, just got Dumber.
And I think Fred, he just got more blustery.
And there's something very charming about the first couple
of seasons of The Flintstones. The first two seasons are a

(38:20):
little bit more honeymooner ish,though I always point out that
there was fantasy in the first season too.
There were things that happened that wouldn't have happened on
the honeymooners, even though that could go over the top too.
Yeah, I think as their audience base broadened and AB CS
viewership broadened and that show became more and more
popular and got a wider and wider audience, they either got

(38:42):
the directive or they felt that they needed to do some more
different kinds of stories for the different kinds of
characters. So there would be a fantasy
story, there would be a spoof story, there would be a kid kind
of story. But even in the 60s and there
were a couple of husband and wife stories, just not as many.
Well, you know, just as we're talking about this and the

(39:02):
relationship to the Honeymooners, Henry, I don't
know if you are aware of this, but he shared with me that he
actually dubbed Jackie Gleason'sdialogue for some of the Smokey
and the Bandit. Yeah, I actually, I'm watching
it on CBS and that's Henry Gordon.
You can tell, yeah. Yeah, I love.
You know, every once in a while you'll pick a voice out,

(39:25):
especially a looped voice, and you'll know it's June for a or
it's John Stevenson or someone on the radio.
So what about George O'hanlon? That's a toughy.
Again, I Love Lucy. You watch it and it's like
George's voice is coming out of this man or Joe Mcdokes.

(39:45):
Yeah, well, it was backwards forme because first I didn't know
about Joe Mcdokes. I didn't know about his
appearance when I Love Lucy thatcame after.
Oddly enough, that was years later.
And now you can find episodes that are available on YouTube if
you want to see them. And occasionally TCM will pop up
on TCM. I'm like, oh, it's a Joe
Mcdokes. And then, you know, you get to

(40:06):
see him. And again, this goes back to
what you said about creating animated characters.
I would love to have known who auditioned for this film.
Or did just somebody did Bill and Joe say that's our George
Jetson period? I don't know the story there,
but somebody might know that. But that's the guy that he was.
And so I I just tried very much.To be a regular guy and oh boy,

(40:30):
oh boy, I think I'm going to getthe big raise.
I know what I know it. It's So what I would watch the I
Love Lucy episode or watch Joe Mcdokes and I think I found one
weird strange interview actuallyof him.
I feel like I did. That helped me really shade and
form the character. And I did an episode on

(40:52):
Jellystone where I kidded GeorgeJetson episode I believe.
It's season 3 I think, and I'm actually really proud of it.
Wait, wait, wait up. Come on.
Every time, George. This is why everyone still
drives. Hi.
There we go. Raiders Rain.
Hello there. We're The Jetsons.

(41:14):
You can't fool us with your catchy theme song.
Your fleshy robots. Robots.
What are you talking about? We'll try to read this.
I am human. Oh, is that what this says?
We are the welcoming committee. Here I I've.
Got a little presentation for you all.
It's just. You've only walked 45 steps

(41:36):
today. You're making me sad.
Oh, I'm. Playing Tchaikovsky, No.
No, no, no. I got this.
Maybe you don't flashlight. OK, all right, it's ready.
Hello, time travelers. Welcome to the.
Future. I think that might be my

(41:58):
favorite George Jetson appearance because I think I was
able to find a lot of the littlenooks and crannies, you know,
that maybe I didn't find when I was younger.
I mean, people always, they'll review my performances and go,
oh, Jeff just doesn't sound the same, you know?
And I always want to say to everybody, you're exactly right.
Because I was directed by Chuck Jones in the title sequence with

(42:22):
Bugs and Daffy. Then I was directed by Andrea
Romano and Tom Ruger for Tiny Tunes.
Different project, different mics, different studios, and now
nothing is recorded in analog. It's the digital age.
And so we're recording on different mics and digitally and
different direction, different scripts.
So I sound different in every show that I've ever done.

(42:43):
There were different microphones, there were
different kinds of sound studios, there was different
kinds of equipment, everything. Certain kinds of echoes you
hear, it's very hard to duplicate.
For one thing, everything just sounds better, so that makes it
harder to make it sound the same.
You almost have to do what they do with, you know, put scratches
over the film they would do. But the light Will Ryan was a

(43:04):
dear friend and we talked about when he was rabbit in Winnie the
Pooh in A Day for Eeyore. And he said, in this, I'm sure
you've said this because it's true with George O'hanlon, His
voice as he aged got craggier. Sometimes you couldn't tell it
was him in a movie because it got so craggy.
Yeah. And it sounded different on the
85 show too. Some people would say, well,

(43:26):
that's not Jordan. No, it actually is.
But he said, which rabbit do youwant?
The Archimedes? Junius Matthews.
Do you want, you know, which kind of rabbit?
And he said, I did a picture perfect, you know, mid 60s
Junius Matthews. And they didn't want that.
They wanted something a little bit different.
They wanted and I said, you know, I didn't want to tell you
this will, but I didn't think itsounded like rabbit.

(43:49):
And he said, well, you're right,because they wouldn't let me.
So I'm sorry but. How interesting.
And when you were talking about George and Jane, reportedly it
was going to be, or at least at some level, Maury Amsterdam and
Pat Carroll. Yes.
They were signed and for some reason either was sponsor or was

(44:09):
they were on other networks. They were recast, Hannah Barbara
recast several main voices, you know, with The Flintstones,
Josie Top Cat, and apparently there was a lawsuit that was
settled. And I love more Amsterdam and
Pat Carroll, you know, they're great.
But Penny Singleton and George O'hanlon Barbera had an ear for

(44:30):
that. He wasn't the lyricist that you
know, was, but he did have an ear for the music of voices.
Oh, I mean so much so. And you know, Speaking of that,
by the way, if we go back to first season of The Flintstones
and you had Bonnie. Now, look, Fred, so I asked the
question to Noel and I said, Noel, what's the deal with that?

(44:53):
He said, well, Jeff, you have toremember my father was he wasn't
well, he wasn't 100% recovered from the accident.
Like, you know, and it's funny, I didn't think of that.
And he was in the bed and he wasup like this and I just sort of
imagined, you know, you know, put the mic in front of him and
just go. And so he probably didn't have
his full lung breathing capacity.

(45:14):
But then interestingly. Then you know in season 2 or 3.
That's the voice that we know ofBarney Rubble.
I mean, it was when I would do it with Henry, you know, was
watch. Me trick Fred.
It was Coco Pebbles. I mean, that was the signature
sound that we're not veering from that, that was it.

(45:34):
That's Barney. There were certain things that
Henry Corden did that were his own, like the way he went Bonnie
because he had that. And he also said pally and he
added phrases that Alan Reed, they were really two different
Freds. Though when Henry sang, he did
sound like if Alan Reed could sing, you couldn't tell as well,
right? You know what's interesting

(45:55):
about cocoa Pebbles and Flintstone vitamins is they
still sell cocoa and Fruity pebbles.
Well, the vitamins started in 68.
Coco pebbles, I think was in the70s.
And even when the Flintstones isn't necessarily, you know,
current, if they haven't done a reboot or the series is being
rested or you know, when they take a show out of circulation

(46:15):
to like rest in a while and put it back the products.
I don't know of any other cartoon characters.
Maybe Donald Duck orange juice, but that's not sold.
I know what you're. Going to say here, yeah, yeah.
Well, their characters are on a day-to-day in your house in the
store product except the Flintstones.
Yeah, this is what I think. You know, if you ask a child

(46:36):
today, 678121319, they don't really know spread Flintstone to
Barney rubble. But I think when you go to the
supermarket and you see that redbox with the yellow and you see
Fred and Barney on there as we know it, they don't see it as
Fred and Barney. It's like a design.
It's like artwork. It's oh, that's Mr. Clean, you

(46:57):
know, that's the mascot. You know, maybe they don't use
that word, but you know what I mean?
It's like, oh, that's the representative.
That's Pebble. That's Fruity Pebbles that I
love. That's Coco, but I mean if you
were to say I would love, love, love, love to do, you know,
brand new Fruity Pebbles commercials as Fred and Barney.
That would be so much fun to do that because I have history with

(47:20):
both of them in different time periods, which is so funny.
Not doing Fred for 18 1/2 nineteen years Barney to Henry's
Fred and then not doing Barney and then eventually doing Fred
and now I've done Fred for you know multiple different things.
You know we had a little Fred inin space jam, which was great

(47:41):
and he makes little appearances.The Simpsons episode, that's
Henry Cordon as Fred Flintstone.That is Henry.
And I'm so happy for him that hegot that.
And he was thrilled to do it, bythe way.
But I later was on Family Guy when they had the crossover
episode where Fred Flintstone isthe judge.

(48:02):
It's the crossover episode whereHomer is there in court because
of the Duff beer. Fred is the arbitrator, the
judge, and so I got to be Fred for that.
So I was in the crossover Simpsons Family Guy episodes.
I'm very proud of that. I've heard all I need to hear to
make a decision. If you ask me, neither of these
beers is wholly original. They're both pale imitations of

(48:25):
my favorite beer but rock. But rendering a verdict is
something I'm paid. To have in Ave.
And I find in favor, I'm tough. It's probably not by accident
that Fred's in that episode. The Flintstones paved the way
for a Family Guy. So much so.
And Seth MacFarlane, you know, obviously being such a fan of

(48:48):
The Flintstones, when he heard me as Fred, that was it.
He had to have. So I've been in multiple
episodes. It's just so funny how your
childhood connects you from one thing to another to another.
I mean, we could have a whole separate segment on Batman, the
television show with Adam West and Burt Ward.
That's an hour in itself. But I got to meet my boyhood
idol, Adam West, at a Family Guysession because he was up there

(49:09):
doing Marriage Airwest and I wasup doing Fred Flintstone, and we
got to talk. I don't know, seemed like an
hour. And when he found out how old I
was, I just remember. Him saying to me, Good God,
you're older than my son. I just This is the greatest
moment of my life. Since we're mostly talking here

(49:29):
about the Flintstones, and I hope you can come back because
there's so much to talk about, about so many.
So much to talk about. So much I would love for you to
talk a bit about playing Fred inthe made for video.
The WWE, that was. Oh yeah.
That seemed to me to be and if everyone would feel like, well,
what's WWE doing there? Well, what's Mick Jag Rock doing

(49:50):
on Pebbles and Bam Bam or, you know, Stoney, Curtis, Hanna
Barbera followed trends. They were, you know, Fred
dressed like Kiss in 77. They did that kind of stuff.
So it's not. But what I found beautiful about
it was they went with the sort of blue tones of the first
season, the thick kind of lines.The backgrounds were right out

(50:12):
of 6061. And I think Spike Brandt and
Tony Cervone are very, very dedicated to making these things
the way they were. And what was the experience like
on that? Oh my gosh, it was a lot of fun.
I do recollect that Spike and Tony were there, and I mean,
there's such beautiful custodians of the Looney Tunes

(50:34):
and Hannah Barbera era. You're always in good hands with
them. Of course, I had to remove
myself a little bit because I was directed by Bill Hannah.
So. Oh yes, that'll be another
conversation. OK, that was an experience.
But Spike and Tony were great. Colette Sunderman was the
director. And again, you know, Colette,
you know, we're the same age, sowe all grew up with the

(50:57):
Flintstones. So man, we were all fired up to
do it. I got this brilliant idea in my
head. We could put on another one of
those crazy matches like you didtonight and charge folks to come
and see it. I promised Betty I wouldn't do
anything dangerous. That ain't going to be
dangerous. It'll be entertainment, like a
show. Wow, a show.

(51:17):
We'd pay hard earned clams to see something like that.
That's what I'm telling you, If we do this, we can make enough
clams to take both our families on a vacation.
Betty sure would love a vacation.
What the heck, I'm in we. Wanted to make that classic.
I mean, we really went crazy to get that right.

(51:39):
So it was a lot of fun. I mean, I think we were nervous
a little bit because you know, the pedigree that comes with the
Flintstones. I mean, I know I certainly was.
But I'll tell you what, I was less nervous with the
Flintstones meet the WWB than I was in the preceding one in
2001. It was the first Flintstones
directed DB project I had done. It was the Flintstones on the

(52:01):
rocks, which has now become thislike kind of weirdly cult
favorite among people. People will ask me about this.
I mean at the time it was very edgy and people like were I
thought it was a little mean. Lately I feel like I don't
exist. Oh, you exist all right, Wilma,

(52:24):
you exist. Can you just shut up for one
second, Fred? My, my, my Mrs. Flintstone, what
could possibly be the source of all these suppressed
frustrations? Yes, Mrs. Flintstone possibly be
the source. When was the last time you
kissed me, Fred? How soon we forget it was 17, 10

(52:45):
weeks last Thursday. Oh.
Boy, it holds up way better today.
It fits in our world in the 21stcentury better today.
But that was a very interesting project.
I mean, I felt like that was cutting edge.
It was very not. All of it was very comfortable.
And then when Seth MacFarlane was hiring me, he was doing some

(53:06):
things that, you know, sort of put them in another universe.
So they weren't maybe quite as precious as we remember them,
you know? But I was very, very nervous as
Fred because I remember as a fanhow much I wanted it to be that
sound. I wanted it to feel like it was
a Flintstones episode. The music was really good in

(53:27):
Flintstone on the rocks. I really like that.
And the writers were so dedicated to trying to get
something that was close, but yet the whole idea was they're
breaking up, you know, whereas in Flintstones meet the WWE,
yeah, it was cheeky and, and it was more light hearted.
And so I think in a way it was alittle more fun because, you

(53:50):
know, we're not trying to, we'renot trying to reinvent the
wheel. We're just trying to put them in
that situation. And, you know, how many times do
we have Scooby-doo crossovers with Batman and, and I mean,
everybody was in scooby-doo. So yeah, that was super fun.
I really enjoyed that. And, you know, wanted to do
more. And then we did a Jetsons, you

(54:11):
know, one. Yeah, you did.
Then that was beautifully, beautifully rendered.
That was another WWE one. Yeah, but I see now there.
Case in point, it was fun because I had got to do Georgia.
It was just basically. Oh, this is grueling labor.
I work my finger to the bone forthis company, and yet I'm

(54:31):
completely underappreciated. And next time I see that old
miser, Mr. Spacely, I'm gonna demand a raise.
Jetson. Yo, please, Mr. Spacely.
Arms are higher. I need you, George Jetson, to
take on a new project. I won't let you down, Mr.
Spacely. You I.

(54:51):
Love Mr. Spacey. That was that's one of my all
time favorite animated characters to do.
And that will be another conversation.
We'll go until I'll tell you my experience with Bill Hannah.
But it was just me doing my alliance as George and and Mr.
Spacely. So I kind of felt like I missed
out a little bit on recording with the other actors.
I think that would have been fun.

(55:11):
But you know, again, is scheduling, It wasn't easy, you
know. I felt like the Flintstone one
was a nice balance between the Flintstone characters and the
wrestlers. The Jetsons seem to was more
like 6040. I think It wasn't.
It wasn't as much Jetsons story in it to me in this one.
And Jetsons is difficult to write because you're competing

(55:32):
with the future and all the gadgets and so things can get
lost. And I always say that the their
setting is one of the characters, whereas The
Flintstones has, they have little animal things and all,
but it all seems to fit generically in there.
The Jetsons has got so much going on that.
Yeah, and I think The Jetsons isprobably harder for people to

(55:52):
write for because when you thinkabout it, they only made, is it
22 episodes. They made 24 initially and then
they made like, I don't know, 6064 or so to make it to, to
raise the number so it could be on every day.
But there was only 24 and 621962and they ran forever.
They ran. Forever.

(56:14):
So that's it's burned into our brains.
Those ones from the early 60s. I thought it was so cute when
they brought them back in the 80s.
But you know. It's hard.
Yeah. Yeah, but they still brought in
the cast, especially for the film.
There's another thing to talk about.
They rarely would bring in, in any reboot, an ageing cast to be

(56:38):
on screen or off screen. It's very unusual to do
something like that, like that for any number of reasons.
But in this case they did. And they they did with voice
actors at Hanna Barbera what they did with artists.
You had people who work there atthe very beginning and the very
end of their lives. They need to get stuff done.
And they were very loyal to people and people who they've

(57:00):
even had disagreements with comeback in.
We need we need to get stuff done and that would happen
before we sign off. I just like for you to this
would be the with respect to DN Rs moment where we talk about
what's coming up next. Well, I mean, some really fun
things are happening. I became part of the Marvel

(57:22):
Cinematic Universe. Yes, I'm very proud to say that
I recorded a couple of episodes as the character of Odin, which
originally, of course, was created by Sir Anthony Hopkins.
And Sir Anthony did not want to do, I don't even know if they

(57:43):
were able to get in touch with him, but he didn't want to do
ultimately any animated character work.
So they held auditions and I wasasked if I would do it.
And I was very enthusiastic. And so there's now on Disney
Plus in the show. What If there's two episodes I
do as Odin? I absolutely love that.

(58:06):
That was so much fun. I mean, it's very different kind
of acting. Odin's the one.
He's sort of like the dad with the bickering sons.
Now you boys better stop it or even turn this planet around.
Yeah, I think one of my favoritelines was.
I knew I should have locked you away when I had the chance.

(58:27):
So that was very different doinga show like that that's so
intense and so serious. And then there came upon another
character. So this one I won't talk about,
but I'll be able to talk about it later in the year.
But there is another major character, more well known even

(58:47):
and bigger than Odin, that I recorded and very proud of and
became a part of in the Marvel Cinematic Universe.
I was recently at Abbey Road Studios for the completion of a
project that will be unveiled atthe Universal Hollywood and
Florida. A very fun project.

(59:08):
Jellystone Season 3 is out. Tiny Toon Season 2.
Hopefully we'll get another season.
We're waiting to see. I don't know, there's probably
the other stuff, but. Wouldn't it be great?
You know you got Jerry Seinfeld with his Pop Tart movie.
Do a Cocoa Pebbles the Motion picture.
All right, that's it. We've got to do that.

(59:30):
Yeah, the origin. Why are they Cocoa named and
after his daughter? And.
And, you know, it's like the gravel Berry pie episode.
It would be wonderful. You know, this is so much fun
and so thrilling. I don't think I could deal with
it if you couldn't come back because there's just too many
wonderful things to talk about. And, you know, so much and
you've met so many interesting people.
We haven't scratched the surface, so thank you for

(59:51):
agreeing to come back at a future time.
I know you're very busy, but more than anything right now,
you're here. So I thank you while you're here
for being on our program, Jeff. Well, thank you so much, Greg.
And as Fred Flintstone would appropriately say and exclaim.

(01:00:12):
Thank you all so much. As always, thank you for your
nice comments. Thank you for listening and for
being such a wonderful support just by joining us and we will
be back with more, but until then, bye bye.
We hope you enjoyed the fantastic world of Hannah and
Barbera with Greg Airborne. Please join us again and Many
thanks for listening.